Published by The Fabric Workshop and Museum.Preface by Paul Schimmel. Text by Thomas E. Crow.

Ed Ruscha: Industrial Strength is published on the occasion of the artist's completion of "Industrial Strength Sleep," a 23-foot by 9-foot tapestry created at The Fabric Workshop and Museum in Philadelphia and based on his 1989 painting of the same name. In his introductory essay, curator Paul Schimmel explains the artist's process: "Though Ruscha has consistently pushed the boundaries of his own iconography, which typically comprises concrete words and phrases, it is in fact his range of materials and processes that has characterized the ever-changing and restless nature of his practice." The piece--which took three years to complete--was produced at Flanders Tapestries in Wielsbeke, Belgium; Mary Anne Friel, Master Printer at The Fabric Workshop, oversaw production. The publication also includes an essay by art historian and critic Thomas E. Crow. Over the course of his nearly 40-year career, Ruscha, who was the United States representative at the 51st Venice Biennale in 2005, has consistently used the expansive landscape of Los Angeles--where he has lived and worked since the late 1950s--in his paintings as a backdrop for the often humorous vernacular phrases with which he communicates a particular urban experience.

Published by Locus + Publishing Ltd..Essays by Fred Hoffman, Paul Schimmel, Kristine Stiles and Robert Storr.

This comprehensive overview, the first to appear in almost a decade, examines an artistic career, that now must be viewed as one of the most fascinating in the history of contemporary art. From his highly controversial and seminal performance works of the early 1970s, to his complex, imaginative installations and monumental sculptures, the art of Chris Burden uniquely informs as well as incorporates the major artistic undercurrents of the last three decades. Not only has the artist made a major contribution to the history of body-related performance art, but the artist's fascination with systems of power, societal organization, architectural structure and technological systems, have resulted in an extraordinary body of sculptural objects and environmental installations over the last 35 years. In compiling this publication the artist has worked closely with curator and long time associate Fred Hoffman, taking this opportunity to re-examine his work afresh and revealing images that are unpublished or rarely seen.

Published by The Museum of Contemporary Art, Los Angeles.Edited and introduction by Paul Schimmel.

Poetic and lush, Robert Rauschenberg's Combines present layers of complex and sometimes conflicting information. This approach, first explored by Rauschenberg in the early 1950s, proved prescient and has become increasingly relevant in the current age of cascading information, when even the most ground-breaking artists are referencing and sampling disparate elements to create new forms. The Combines suggest the fragility of definitions, the fluidity of materials and the complexity of forms that are characteristic of Rauschenberg's works. The artist's handling of materials provides a precise physical evolutionary link between the painterly qualities of Abstract Expressionism and iconographical, subject-driven early Pop art. This book focuses on the works created roughly between 1954 and 1964, the most important decade in the artist's 50-year career, and constitutes the most complete survey of the Combines ever presented, as well as the most rigorous analysis of their political, social, autobiographical and aesthetic significance. An introductory essay by exhibition curator Paul Schimmel titled “Reading Rauschenberg” offers an iconographic analysis of the earlier Combines, based on in-depth conversations with the artist. Other texts help to contextualize the Combines, such as Thomas Crow's essay that calls them the major artistic statement of their time, and the one body of art that could simultaneously hold its own from de Kooning to Pop art.

Published by Charta.Essays by Ulrich Loock and Paul Schimmel. Interviews by Hannelore Reuen and Ulrich Loock.

“Making is a higher form of thinking,” claims Gregor Schneider, who began to make art as an adolescent. So urgent was his desire to be an artist that, in order to pay for the materials he needed to make his sculptures, he even worked as a gravedigger. Introverted, self-effacing and a close observer of human behavior--with a particular passion for the lowliest of social categories--Schneider has developed an all-absorbing identification with his work, living together with it night and day in an apartment he soundproofed from the rest of the world. Schneider has tried his hand at film, painting and sculpture, but most remarkable is the installation he created between 1985 and 1994, in his home. There he built rooms within rooms, walls in front of walls, doors that led nowhere and windows that opened onto dead spaces. When asked about his motivations, he would defiantly proclaim, “I can't do anything else.” This monograph surveys his work.

PUBLISHER

BOOK FORMATPaperback, 9 x 11 in. / 232 pgs / 80 color / 370 bw.

PUBLISHING STATUSPUB DATE 3/2/2004Out of print

DISTRIBUTIOND.A.P. EXCLUSIVECATALOG: SPRING 2004

PRODUCT DETAILSISBN 9788881584604 TRADELIST PRICE: $49.95 CDN $49.95

AVAILABILITYNot available

STATUS: Out of print | 00/00/00

For assistance locating a copy, please see our list of recommended out of print specialists >

Life with the Cup-A 25 Year Survey

Published by San Jose State University.Artwork by Irvin Tepper. Edited by Jo Farb Hernandez, Paul Schimmel. Text by Edmund Burke Feldman, Marc Freidus, James Harithas, David Ross, Armando Surez-Cobin, Janet Koplos, Robert Milnes.

For the past 25 years, Irvin Tepper has been engaged in an exploration of the physical and conceptual idea of the coffee cup. Endowed with animistic qualities, Tepper's cups (made of porcelain or bronze, seen in photographs and drawings) hear, think, and even speak, commenting on the stories they overhear and the lives they witness as we drink our daily cups of coffee--with friends, business associates, or just the daily paper.

PUBLISHERSAN JOSE STATE UNIVERSITY

BOOK FORMATHardcover, 9 x 11 in. / 136 pgs / 100 color

PUBLISHING STATUSPUB DATE 2/2/2003Out of print

DISTRIBUTIOND.A.P. EXCLUSIVECATALOG: SPRING 2003

PRODUCT DETAILSISBN 9780972198400 TRADELIST PRICE: $40.00 CDN $40.00

AVAILABILITYNot available

STATUS: Out of print | 5/23/2006

For assistance locating a copy, please see our list of recommended out of print specialists >

In subtly lush paintings that charm viewers equally through their application of paint and their quirky iconography, Laura Owens touches on expressive abstraction, color field painting, and the occasional decorative glimpse of a monkey. Charged as one of the contemporary artists responsible for a revival of the painting, Owens has developed an enigmatic style all her own, moving from landscape to abstraction with energetic thick brush strokes, fanciful childlike doodles, or sophisticated fine-line drawings, culling her influences from any number of visual sources, including chinese landscape painting, japanese wood block prints, and patterned textiles. This volume includes new paintings created for her upcoming solo show at the Museum of Contemporary Art, Los Angeles.